Visit the garden to send autumn maps
The interweaving of ancient rhymes and novelties
——Appreciation of Xie Yan's works
Shu Xiao
Xie Yan, who came from an artistic family, grew up in the family building of the Academy of Fine Arts, and grew up with a wide range of eastern and western art, which enabled him to have both practical experience in Chinese painting and oil painting. It seems that it is also a natural sense of mission that makes him take the "fusion of East and West" in artistic language as the direction of his artistic path after many years.
The water pavilion is a quiet place
The wheel of the times has not stopped, it is changing the world, but also driving the development of art, Chinese painting emphasizes to follow the tradition, but when to go back to the real tradition? Once, Xie Yan before the painting could not avoid thinking about this question, "Although the process of Chinese painting is not as drastic as the changes in the West, it has actually been slowly and continuously innovating, all of which are part of traditional Chinese culture." In fact, every change is an innovation, is a huge social progress, but also cultural progress, a small innovation, from a thousand years later to look back at it, we will feel that it is a brilliant traditional culture. But if China's traditions still want to continue to persist, we must move forward on this basis, and only through innovation can our culture and our civilization have vitality and truly become important branches and streams in the world. Lu Xun once issued such a loud voice as "only the nation is the world", with such artistic self-consciousness, many years ago Xie Yan put forward a point of view of "painting Chinese painting in the way of oil painting, painting oil painting in the way of Chinese painting," - using color to express Chinese painting landscape, using ink to express oil painting landscape, this was also Xie Yan's definition of his own art, and it was a shocking step full of courage and courage on his artistic road.
Shanshui -1
"I naturally went down this path." Talking about the various difficulties encountered in the process of exploration, Xie Yan smiled indifferently, and it was difficult to imagine that such a peaceful and amiable person in front of him, who was full of great courage and energy for breaking the shackles of tradition, was full of courage and energy.
The green mountains outside the wall are red
"After I walked this path, I would think about these things in reverse, and at that time I just thought I liked the inky, smudged effect of Chinese painting. Then I liked the fullness and richness of the Western colors, so I felt that they could be put together completely, and there should be no contradiction. Therefore, on the basis of traditional pen and ink interest, Xie Yan innovatively uses modern art language, breaks the traditional restrictions in form and picture structure, and expands the subject matter and breadth of landscape painting.
Suzhou sketching - deep spring in the vicissitudes
In the schema of landscape painting, Xie Yan has a keen modern consciousness and innovative vision, and he constantly tries with a literati-like heart. Suzhou garden is a very brilliant example of traditional Chinese culture, in a limited space to create a unique scenery, the traditional Chinese aesthetic and cultural atmosphere is condensed here, but it has never entered the mainstream of the subject of painting creation, the artists' eyes flow and avoid, occasionally take a corner of the wall into the painting, but also often dare not give up its own appearance, but Xie Yan has his own thoughts on this, in his Suzhou garden sketching series, has begun to see the beginning - those vertical and horizontal lines of ink, The intertwined dots of color introduce the viewer to a world that seems familiar but confusing, he said: "I paint the garden, but I don't necessarily have to express the garden itself, it is just an object. It doesn't matter if you don't look like a garden in this way, Xie Yan let go of his attachment to shape and went to extract the spiritual inner nature of the objects in front of him, and the Song Dynasty's "Picture Seeing and Hearing Zhi" has clouds: "Where paintings, qi rhyme is based on wandering hearts, and divine brilliance is born with a pen." Under his pen, ink and color skillfully form a complementary relationship, the admirer's mind moves with the jump of the brushstroke, the beauty of form and the interest of pen and ink are fully organically unified, and the painter's own feelings are completely integrated with the thousands of objects in front of him. Breaking the boundaries between Chinese and Western art, creating a new artistic language, painting paintings with national style and the spirit of the times, is the goal and direction that Xie Yan has always adhered to.
People in the mountains
Xie Yan's works, whether Chinese paintings or oil paintings, are shrouded in a layer of oriental meaning, with a dense poetry and profound realistic meaning, while highlighting the reflection of people in modern society facing the process of urbanization and their own living environment. In the work "Water And Water", all the scenery is summarized into an image, the picture is divided into three abstract shapes, the trees are no longer trees, the reflection is no longer a reflection, the nearby dry lotus is like a string of light notes, the ink color ripples, drifting to the thick pen and ink outline of the alto area, and finally disappears in the low chant of twilight and mountain light. The slowly flowing river was soaked with Xie Yan's pure emotions. In the practice of art, Xie Yan attaches great importance to sketching, he believes that in the process of breathing with the mountains and rivers and wilderness, his artistic emotions can be directly stimulated, he will go out to sketch as a kind of practice for himself, and his life experience and what he sees and feels have also become an inexhaustible treasure on his artistic road.
The water is still flowing
Excavating the subject matter in the small space and making some attempts and explorations in the composition and form of the picture are the two directions that Xie Yan should practice in his subsequent artistic practice. Over the years, he has searched for traditional imagery and Western artistic language, found a new landscape painting context, expressed the feeling in his heart with a romantic brush, expressed his inner realm with the help of pictures, and finally externalized into an artist's unique character, which is a unique style of his own, forming his own distinctive artistic characteristics at the same time, it will also create another landscape on the road of integration of Chinese and Western painting.
Impressions of the city
Shanshui-2
Shanshui -3
I have a slice of peach blossoms cut off for a while
Reflect the sky
Introduction to art
Xie Yan
Born in May 1973 Ancestral home: Shantou, Guangdong
In June 1997, he graduated from the second studio of the Oil Painting Department of the Central Academy of Fine Arts
In June 2011, he graduated from the Painting Department of the Academy of Fine Arts of Tsinghua University, majoring in oil painting, with a master's degree in fine arts
He is currently working as a full-time painter at the Academy of Literature and Art of the China Academy of Arts. He is a member of the China Artists Association. Member of the Illustration and Binding Art Committee of the China Artists Association. Vice Chairman of The Artists Association of the China Forestry Federation of Literature and Literature.
He has worked at the China Academy of Performing Arts, the Central Academy of Fine Arts and the China Academy of Arts. He was the secretary and vice president of the Affiliated Middle School of the Central Academy of Fine Arts, and the head of the teaching department of the Graduate School of the China Academy of Arts.
He has been engaged in art creation for more than 20 years, and his works have participated in various domestic and international exhibitions, and his works have been exhibited in important venues such as the "Louvre", "Kremlin", "National Parliament Building", "National Museum", "National Art Museum", "National Art Museum" and other important venues, and have been published in important academic and social journals such as "Fine Arts", "Art Research", "Beijing Evening News", "People's Daily", "Guangming Daily" and so on. He has also published more than 10 kinds of painting albums.